مجله هنر و تمدن شرق
پیاپی 34 (زمستان 1400)

Many scholars believe that Islamic arts do not intend to represent the real world. This view goes back to the Sufi view of Iranian-Islamic art, which emphasizes meaning than appearance. Even though studying an artwork from a religious and mystical view is generally not wrong, limiting the view to the mystical concepts while examining an Islamic artwork may prevent us from considering other aspects of this art. For this reason, Islamic visual artworks need to be analyzed from a variety of perspectives such as realistic. In this article, the painting “The Battle of Camels”, attributed to Kamal al-din Behzad was selected. Camel fighting is popular entertainment in countries such as Pakistan, Afghanistan, and Turkey. Therefore, the painting “The Battle of Camels” was examined in a historical-analytical manner hypothesizing that Iranian paintings are not only images specific to texts and manuscripts but also have artistic values and historical and social concepts, Also, to answer the question of how this painting shows the painter’s influence on the real world, similar types of paintings and real photos of this event were studied. Finally, we found that Kamal al-din Behzad probably observed such an event closely and was also influenced by similar drawings. Through his new perspective, he was able to portray this issue in the form of the principles of Iranian painting and managed to include the real aspects of this event in the work by showing realistic details

Arabesque is one of the most eminent ornamentations of Islamic art. Though based on existing documents this form of decoration dates back to the Sassanid era, some researchers have regarded interlacing forms as arabesque and traced their origin to ancient Greece and Rome. In Iran, the rise of Arabesque began in the Seljuk period and came to its prominence in the Safavid period. Taking an evolutionary approach to arabesque through time, this study aims to introduce the oldest examples of this pattern in Iranian decoration, which later were borrowed by other areas in the Islamic world.  In this research, a historical-analytical method was used to analyze the collected data from library documents, texts, and images. In this regard, scrutinizing the book entitled “Arabesque and Signs” that contains several contradictory comments on Arabesque was taken into consideration to resolve ambiguities.

Aesthetics as the essence of art has always drawn the attention of intellectuals, critics, and philosophers. It has also been approached directly or implicitly by traditionalists. Traditionalism is a twentieth-century western school founded by Guenon, Coomaraswamy, Schuon and practiced by Burchardt and Seyyed Hossein Nasr in Iran. The present study draws upon a cognitive approach to discuss some philosophical views and then examines the aesthetics-associated ideas of these five traditionalists. We attempt to criticize such views based on this assumption that the traditionalists’ views on aesthetics are ambiguous and contradictory and irrational and include expressions devoid of truth or reality.Ancient school philosophers’ definition of aesthetics is mainly substantive and points to tangible matters. Comparatively speaking, the definition of traditionalists is merely vague, emotional, and contradictory. Such conceptualization has been extended to architecture and other arts. In many cases, this definition has even gone too far and caused ambiguity However, the fact that many traditionalists have taken aesthetics for the truth itself is undeniable.

Systematic reading of works of art helps to identify meaning and identity in the visual works. This is because the visual works of art, with their historical and social background, reflect the intellectual and cultural changes of the time; among these works, Mihrabi rugs can be noted. One of the most important points in these rugs, under the frontal part of Mihrab, is the representation of the verse of Noor. The verbal cues in this place can be regarded as a representation of the verse of Noor in the Safavid era, so it refers to an Islamic text; however, gradually, after the Safavid era, in the Qajar period, this place is assigned a specific human name and non-Islamic verbal signs. So the question is how can this change from non-subjectivity to subject and from an Islamic text to non-a Islamic one be explained? The answer to this question can be found by using a comparative-analytical method and matching the subjects and themes in the verbal text below the frontal part in the rugs during Qajar and Safavid periods;, the purpose of the present research was to explain this difference of the verbal cues in these rugs. By matching the rugs, it could be concluded that the artists, according to the common ideas in the Safavid period, tended to Islamic and Shiite principles, while in the Qajar era, due to the tendency to archeology, the influence of the West and the anthropocentric approach, rugs with different themes and symbols were created.

Peri (in English  Fairy) is a mysterious and equivocal concept in the Persian language. Some define it as a revered creature while others consider it a villain and wicked being who can hurt humans and make them mad.  However, Peri has long been in the language and culture of Iran and has appeared in various forms. Examining the history of Peri shows that this creature used to be a Goddess of fertility and sexual attractiveness in the beliefs of pre-Zoroastrian. However, after the rise of Zartosht, he expelled this creature from the community of Gods and considered her as a devil. After the arrival of Islam in Iran, some new concepts entered into the language and thought of Iran that Iranians associate them with the old concept of Peri. These new concepts caused Peri to gain her adorable face again and play roles beside other sacred creatures in Iranian Arts like painting and Ta’zieh. Peri appears in the paintings at the peak of beauty but shows some of her devilish and deceiving aspects with some signs like the red color too. Peri plays a very important role in Ta’ziyeh and comes on stage four times with various rituals.  She helps the holy heroes in various ways. These roles are a mixture of the ancient features of Peri with the new Islamic teachings that can be seen in words and ideas such as Malak, Jinn, and Hour-al-Ain. In the end, all of this manifests itself in the body of a mature and beautiful work of art and is presented to believing viewers. The recovered Peri is a beautiful and lovable creature who, if there are any traces of humor and charm left in her, is because of necessity feminine.

In the architecture of the old buildings of Dezful, artistic decorations are an inseparable element from other existential elements in the building. One of the special elements that is obvious in the construction of traditional housing and has a special beauty, which gives meaning and meaning to an element called a ledge by creating an empty space in the walls of houses, is called "nogholdoni". Accordingly, the most important research question is, what is the function and position of quotation in the architectural decorations of traditional housing in Shahrdzfol? And what role has this decoration played in improving the quality of residential spaces? The purpose of this study is to investigate the status and construction of this type of decorative and eye-catching space, which in our time is completely obsolete and excluded from the circle of building decorations.In the present study, using descriptive, analytical and survey methods with the study of traditional houses in the historical context of Dezful and studies around the ledge and its practical function in Iranian architecture has been studied to in addition to field studies and direct observations of traditional context of library studies. And articles have been used.The researcher's achievement indicates that these spaces are mainly made of plaster and have very beautiful and artistic decorations. Has been preserved in various shapes and forms and has become the background of decorative spaces such as open spaces, fireplaces, cabinets, drawers, etc